915 research outputs found
Aristofane, Le Vespe, introduzione di Guido Paduano, a cura di Elena Fabbro
No full textEdizione con introduzione, apparati critici, traduzione e commento delle Vespe di Aristofane
L’esclusione dal piacere e il piacere dell’esclusione nelle commedie di Aristofane
No full textL’articolo prende in esame le situazioni nelle commedie di Aristofane in cui il benessere creatosi in conseguenza del progetto comico investe la società nel suo complesso, escludendo individui o gruppi che non corrispondono ai valori vincenti. Le scene di esclusione drammatizzano la componente aggressiva che è parte essenziale della personalità e della vitalità del protagonista, e al contempo enfatizzano il significato ideologico della sua azione: così nella Pace sono tenuti fuori dai festeggiamenti l’oracolante e i mercanti d’armi che in misura diversa traggono profitto dalla sventura collettiva; nel Pluto viene emarginato il sicofante che mette al disopra del bene universale della ricchezza la sua professione, cioè il danneggiamento delle sue vittime. Negli Uccelli si moltiplicano i rifiuti opposti a una serie di postulanti i quali, provenienti dal mondo che Pisetero ed Evelpide hanno a loro volta rifiutato, aspirano a condividere e soprattutto a condizionare la nuova cittadinanza.Le présent travail vise à analyser le thème de l’exclusion dans les comédies d’Aristophane, en focalisant l’attention sur la relation entre le bien‑être qui se répand dans toute la société grâce au projet du héros comique et l’expulsion des individus ou des groupes qui ne correspondent pas aux valeurs gagnantes. Les scènes d’exclusion concourent à la mise en scène de l’agressivité du protagoniste, un élément spécifique de sa vitalité, et soulignent en même temps les implications idéologiques de son action. Ainsi, dans la Paix, le faiseur d’oracles et les marchands d’armes, qui profitent à des degrés divers du malheur collectif, sont expulsés des réjouissances ; dans le Ploutos, le sycophante, qui privilégie sa profession — c’est-à-dire ruiner ses victimes — plutôt que le bien universel de la richesse, est exclu des bénéfices de la richesse partagée. Dans les Oiseaux, se multiplient les rejets reçus par postulants qui, venant du monde que Pisthétaïros et Évelpidès ont tour à tour refusé, aspirent à partager et, surtout, à définir la nouvelle citoyenneté.The present work aims at analysing the patterns of exclusion in Aristophanes’ comedies, with a particular focus on the relationship between the well‑being that spreads throughout the whole society as a result of the comic hero’s project and the expulsion of individuals or groups not matching the winning values. The scenes of exclusion dramatize the aggressive component of the protagonist’s personality, which is an essential element to his distinctive vitality, and at the same time emphasize the ideological implications of his action. Thus, in Peace, the oracle-maker and the arms merchants, who profit to different degrees from collective misfortune, are expelled from the festivities; in Plutus, the sycophant, who values his profession, i.e. the harming of his victims, above the universal good of wealth, is excluded from the benefits of shared wealth. In Birds, multiple rejections drive away a series of postulants who, coming from the world that Pisetaerus and Euelpides have in turn refused, are now eager to share and, above all, to condition the new citizenship
(V.) MASTELLARI (ed.) Fragments in Context – Frammenti e dintorni (Studia Comica 11). Göttingen: Vandenhoeck and Ruprecht, 2021. Pp. 236. €80. 9783946317265.
No full textAmore, esibizione, partage: la storia di Candaule in Erodoto e nelle riletture moderne
No full textThis paper focuses upon the four main modern versions of the Herodotus's tale of Gyges and Candaules (La Fontaine, Gauthier, Hebbel, Gide). Through a comparative analysis of narrative structures, the lexical and thematic connections and differences with the model are outlined
Il fatale approdo dei cinque uomini su dieci navi: un enigma in Athen. X 457b
No full textAll the solutions of the riddle found in Athenaeus Deipnosophistae X 457b-c ("five men with ten ships landed at one place, / they did battle amidst stones, but no stone could be lifted; / for thirst they perished, but the water rose over the chin") suggested by ancient sources and few modern guesses don't seem very convincing. The explanation hereby proposed is the following: "five molluscs, probably mussels endowed with two black, long-shaped valves (similar in shape and chromatic impact to the hulls of the triremes caulked with pitch) are caught and reach the land. The molluscs-seamen are placed on burning coals (stones that cannot be lifted) and they die of thirst: because of the heat the valves open wide quickening the evaporation of the water contained inside of them, over their 'chin' or 'beard' (that is filaments of byssus)". The association mussels-ships had to be quite present in the Greek imagery, according to what we read in Aelian (NA XV 12)
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